![]() On “popular” literature in late medieval household books see Shuffelton, “Is There a Minstrel in the House?” For a study that considers the gentry manuscript contexts of Middle English romance see Radulescu, Romance and its Contexts.Ģ4 See Hibbard, “Torrent of Portyngale,” (1960) pp. 218n4.Ģ3 On “popular” romance see Putter and Gilbert, eds., Spirit of Medieval English Popular Romance McDonald, ed., Pulp Fictions of Medieval England and Gray, Simple Forms, especially pp. lxxx.Ģ2 See Purdie, ed., King Orphius, p. On Anglo-Iberian relations in the Middle Ages see also Bullón-Fernández, ed., England and Iberia in the Middle Ages. 1–14, as well as Carlson’s “The English of Nájera,” and Galván’s “At the Nájera Crossroads” in the same volume. 27–28.Ģ1 See the “Introduction” to John Gower in England and Iberia, eds. 34–38.Ģ0 See Kennedy, “Malory and His English Sources,” pp. 7, 22–23.ġ9 See Kennedy, “Malory and His English Sources,” pp. xxix–xxxii Sánchez-Martí, “The Printed History of the Middle English Verse Romances,” pp. xlviii–liv.ġ7 See Scammell and Rogers, “An Elegy on Henry VII,” p. A more skeptical reader, however, might follow Pearsall, who has expressed suspicion at the idea that “late medieval English manuscripts of apparently miscellaneous content are somehow the product of unifying controlling intelligences”(“The Whole Book,” p. Most recently, Sánchez-Martí has argued that the manuscript “is a clear example of careful organization, conceived as a family library in parvo” (“The Middle English Versions of Ipomedon,” p. xviii–xxiii.ġ5 Chetham’s MS 8009 is generally considered one of the more tightly knit miscellanies. See Ker, Medieval Manuscripts in British Libraries, pp. 265–79.ġ2 On the manuscript’s composition, see Sánchez-Martí, “Manchester, Chetham’s Library MS 8009 (Mun.A.6.31): A Codicological Description.”ġ3 Scribal assignations follow Ker’s description of the manuscript. ![]() On the connection within Chetham MS 8009 in particular, see Wade, “Romance, Affect, and Ethical Thinking,” pp. 24.”ġ1 On the link between saints’ lives and romance see Wogan-Browne, Saints’ Lives and Women’s Literary Culture, pp. 153–242.ĩ Mun.A.6.31 is the current shelfmark, though for the sake of continuity with past scholarship 8009 continues to be the preferred reference to the manuscript.ġ0 On the principal characteristics of late medieval English household books see Boffey and Thompson, “Anthologies and Miscellanies.” See also Boffey, “Bodleian Library, MS Arch. lxiii).Ĩ For a survey of tail-rhyme provenance see Purdie, Anglicising Romance, pp. ![]() lx–lxix, for lexical and semantic evidence of Torrent’s predominantly Northern dialect, which he believes can be narrowed further to the Eastern North Midlands (p. xx–xxi.ħ For a further discussion of provenance, and relation to Sir Egalmour of Artois, see Purdie, Anglicising Romance, pp. TORRENT THE CLOSER SEASON 7 EPISODE 19 TORRENT141–45.Ħ See Adam, ed., Torrent of Portyngale, pp. 208–35.ĥ For a list of these echoes see Richardson, ed., Sir Eglamour of Artois, pp. Narratio de Arthuro rege Britanniae et rege Gorlagon lycanthropo, pp. See Radulescu, “Reading King Robert of Sicily’s Text(s) and Manuscript Context(s),” pp. Similarly, the Dublin, Trinity College, MS 432 witness of the Middle English romance Robert of Sicily is formatted to suggest a dramatic dialogue, as is the sole surviving copy of the fourteenth-century Latin prose romance Arthur and Gorlagon. Comparison might be drawn with Dame Sirith, where the sole surviving manuscript marks with a marginal T, for Testator, lines where that role might have been taken by a separate reader. The subsequent editor, Erich Adam, had to frequently transpose words within lines to make the rhyme scheme work.Ĥ See the Explanatory Note for lines 7 and 10 for more on oral tags. More unusually, the surviving text is so fragmentary and error-ridden at the level of both the individual line and the tail-rhyme tercet, that the text’s first editor, James Orchard Halliwell, mistook the structure for six-line stanzas. SIR TORRENT OF PORTINGALE INTRODUCTION: FOOTNOTES 1 On the characteristic features of late medieval English romance see Cooper, English Romance in Time, and Field, “Romance in England.”Ģ Harry Bailey, the host of the story-telling competition who often plays the role of literary critic in the Canterbury Tales (however ironic and subversive), calls the Tale of Sir Thopas “rym doggerel” (VII 925), and announces that the Chaucer-pilgrim’s “drasty rymyng is nat worth a toord!” (VII 930).ģ The lone surviving manuscript witness of Torrent, Chetham’s Library MS 8009 (Mun.A.6.31), does not space the stanzas separately on the page, though this is not unusual in manuscripts preserving late medieval tail-rhyme romances. ![]()
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